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HOW TO TEACH WRITING 


A MANUAL TO ACCOMPANY 

PRACTICAL WRITING 

A SERIES OF COPY BOOKS 


PLATT R. SPENCER’S SONS 




NEW YORK CINCINNATI CHICAGO 

AMERICAN BOOK COMPANY 

> s 




I Ll»»i*V «f «50^!?E3S I 
f^»<3SB(08RflCeWBd 


SEP 


1906 


^^ewfsrtit Entry 

;? 7 ,/ 97»6 

*L«S8 a XX0.N©. 

/v?^/ 

SSOPY g 


Copyright, 1906, by 
AMERICAN BOOK COMPANY 

HOW TO TEACH WRITING 

W. P. 1. 


* c 





INTRODUCTION 


Unlike most other things taught in the 
elementary schools, skill in writing is attained 
by training the hand of the pupils. Certain 
forms must first be fixed in the pupils’ minds 
and their hands trained to produce these on 
paper easily and well. A handwriting is 
gained when the hand produces the successive 
letters of each word from force of habit, auto¬ 
matically, without thought of forms. Other 
habits are also acquired by the hand, as type¬ 
writing, sewing, knitting, or playing musical 
instruments. In all these manual acts, habit 
is attained only by assiduous practice. 

In writing, the first efforts are usually 
slow; neither the form nor the movement es¬ 
sential to its production has been mastered. 
When the form of a letter has been grasped 
by the mind it is evident that the move¬ 
ments through which it is produced should be 

3 


4 


HOW TO TEACH WRITING 


adequately practiced. Form and movement 
should go together. Tracing model forms 
with a dry pen, using free movements, gives 
practical results. 

Children in the elementary schools have 
much writing to do in connection with other 
studies. This work is often done hastily and 
will surely result in a “ scribble-hand ” unless 
the children are correctly taught how to write 
in the lower grades. The method of instruc¬ 
tion quite frequently followed enables the chil¬ 
dren to draw slowly and painfully the copy 
book hand, or to scratch off with more speed 
their own writing,—crude, untrained, hardly 
legible, and with every repetition tending to 
become permanently fixed in that mold. 

It is evident that the correct method of teach¬ 
ing should not only give the form to the pupils, 
but should also give them exercise sufficient to 
make the production of these forms easy, reg¬ 
ular, habitual and rapid. Copy books furnish 
the correct forms, not only of the single let¬ 
ters, but of their connections and adjustments 
one to another. Movement exercises are es- 


INTRODUCTION 


5 


sential for effective practice towards a full 
command of these forms; and the use of these 
exercises should therefore go hand in hand 
with the copy book practice. One kind of 
work should supplement the other. 

It is the purpose of this manual to show 
how the Practical Writing series of copy 
books can best be used in that way to develop 
skill in writing. 

In style of writing the aim has been to pre¬ 
sent in these books a hand plain and practical, 
easy to read and easy to execute, devoid of 
every useless line, but still not neglecting the 
requirements of good taste. 

The forms of the letters are very simple, 
the slant moderate, shade omitted, and capital 
and loop letters as short as is consistent with 
due differentiation of the long from the short 
letters. The lines are clear and strong, and 
the writing easy and flowing in its appearance. 

The spacing is medium. It avoids a sprawl¬ 
ing style on the one hand, and on the other 
that confusion of letter with letter, word with 
word, and line with line, which impairs clear- 


6 


HOW TO TEACH WRITING 


ness and legibility as well as the attractive ap¬ 
pearance of the writing. 

The Series consists of eight books, each con¬ 
taining twenty-four pages. The matter ranges 
from the simplest words in the lower books, 
progressively arranged and teaching the letters 
in systematic order, to business forms and 
letter writing in the higher books of the 
series. While the selections have been care¬ 
fully made to afford a pleasing variety of in¬ 
structive items, duly graded, the authors have 
not specially turned aside to teach science, 
ethics, chronology or art. The one purpose 
of the books is to teach writing. 

The cover pages show and explain correct 
penholding, and position at desk, and furnish 
also a series of thirty-three forms that may 
be used in movement exercises. There is not 
space, however, upon the covers to show as 
fully as desirable how and when these exer¬ 
cises should be employed. 

These movement exercises are not put with 
the copies at the heads of the pages because 
they would unnecessarily confuse and compli- 


INTRODUCTION 


7 


cate the copies, and because the exercises need 
to be returned to repeatedly, but should not be 
used continuously. 

The hands of small children have not, at 
this age, attained their full growth, and they 
soon become weary of a single monotonous 
movement. The exercises should therefore 
serve as a change and a relief, and should 
never be so long continued as to tire the pupil. 

Remember that habits are formed by the 
frequent repetition of the same act,—a bad 
habit if the act be wrong, a good habit if it 
be right. It is important that the learner in 
penmanship start right before repeated wrong 
practice fixes bad habits that may injure his 
writing for life. 

It is the aim of this manual to aid the teacher 
in giving the beginner in handling the pen a 
right start. 




HOW TO TEACH WRITING 


Writing Materials 

Pens .—The pen should have a smooth, even 
point and not be too fine nor too limber. To 
simplify the writing and render it easier of exe¬ 
cution, shade is omitted in these books. Where 
this is the case a pen with a little coarser point 
is best; and it need be only just limber enough 
to make sure of a free flow of ink. All new 
steel pens are at first slightly covered with oil 
to prevent rusting, and will not carry the ink 
well until cleaned. This may be done by dip¬ 
ping the point in the ink two or three times, 
and removing the ink each time with a pen¬ 
wiper. 

The penholders should be plain and simple. 

Ink .—The ink should be clean, flow freely 
and be black when first used, not blue or green. 
The appearance of the pupils’ writing will be 
much more encouraging if the pen makes at 

9 


10 


HOW TO TEACH WRITING 


once a clear black line. The ordinary school 
desk is now provided with an ink well. This 
should be filled only deep enough to give the 
pen a proper amount of ink when it is dipped 
to the bottom. Children should be taught how 
to keep the penholder free from ink, and thus 
avoid soiling their hands, books and clothing. 
If the ink is not too deep in the ink wells, and 
if the pen is not allowed to smear the mouth of 
the glass, the penholder can be kept clean. 

Each child should have some form of pen¬ 
wiper. He should not put the pen in his 
mouth, nor wipe it upon his clothing. The 
material of the penwiper ought to be of some 
cloth free from lint. 

The copy book should be in the hand of 
every pupil; and loose sheets of practice paper 
should be provided for the movement exercises. 
These should be given out in single sheets to 
. each pupil. If these are the same size or a little 
smaller than the copy books, they can be pre¬ 
served and used from day to day until covered 
with movement exercises on both sides. 

For the lower grades—those using Books i 



POSITION AND PENHOLDING 


II 


to 5—the paper should be ruled with single 
lines about a half inch apart. For the pupils 
using the higher numbers, the paper may be 
plain. It is well for the pupils to learn not to 
depend wholly upon ruling for neat work. 

It is not necessary that the practice paper 
should be of the best quality. Any smooth 
paper, over which the pen can glide easily, and 
which takes the ink freely without spreading, 
is good enough. 

Position and Penholding 

Proper position of body, hand and pen is 
of prime importance to enable the pupil to 
avoid harmful habits, and, under right train¬ 
ing, to develop those free movements requisite 
to easy, ready writing. It is essential that 
this be clearly taught at the beginning, care¬ 
fully watched, and returned to again and 
again, until correct habits are formed. The 
subject is briefly treated on the cover of the 
copy books, but it is best to take it up more 
fully here. 


12 


HOW TO TEACH WRITING 


Desk and Seat .—A good position is im¬ 
possible unless desk and seat are of a height 
suitable for the child, and properly adjusted. 
If the seat is so high that the feet cannot rest 
firmly on the floor, or if the height of the desk 
above the seat causes the shoulders to be un¬ 
naturally raised or depressed when the writing 
position is assumed, the best results must not 
be expected. 

Light .—Care is requisite as to the light, 
which should be ample, but not glaring, and 
should come, if possible, from above, over the 
pupil’s left shoulder, so that he may get its 
full benefit and avoid troublesome shadows 
upon his work. 

Sitting at Desk .—Let the pupil sit front¬ 
ing the desk, and easily, not rigidly, erect, in¬ 
clining a trifle forwards from the hips, not 
bowing the back nor depressing the chest, but 
preserving an attitude favorable to full normal 
respiration. Though near the desk, the body 
should not lean against it. 

The feet must not be drawn back, but placed 
forward, level upon the floor. The forearms 


POSITION AND PENHOLDING 13 

are to rest in front about equally upon the 
desk. The body is steadied by the left arm, 
with the left hand resting upon the book to 
keep it in place and adjust it when required, 
leaving the right arm and hand free to handle 
the pen, the right forearm resting easily on 
the large muscle near the elbow called the 
arm rest. 

Hand and Pen .—The pen is to be lightly 
held between the first and second fingers and 
thumb. We emphasize the word lightly be¬ 
cause if the grasp is fight the muscles lose 
their flexibility and soon become weary. Let 
the pen cross the second finger at root of the 
nail and the forefinger just forward of the 
knuckle, with the end of the thumb touching 
the holder opposite the lower joint of the fore¬ 
finger. The point of the pen should come 
squarely to the paper (to secure smooth lines) 
and the top of the holder 1 should point about 
to the right shoulder. 

1 This old rule, essential in shaded writing, need not be rig¬ 
idly insisted upon in unshaded script like that in these books. 
Tip of holder may, if preferred, point two or three inches 
farther to the right. But the hand must never be inclined so 
far in that direction as to come in contact with the table. 


14 


HOW TO TEACH WRITING 


The wrist must be kept free from the desk, 
the hand only resting lightly upon the nails of 
third and fourth fingers, bent under for the! 
purpose. Upon this movable rest the hand, 
propelled by the forearm, acting from its mus-' 
cular rest near the elbow, glides easily along 
the paper, forming and combining the letters. 

The Paper. —Place the paper obliquely, as 
shown in cut on second cover page of Series, 
with its top about one third of a right angle to 
left of a straight front position. Let the posi¬ 
tion of the paper be such that the pen is about 
at right angles with the ruled lines and can 
readily follow them when swept freely across 
the page. The position of the paper largely 
determines the slant of the writing. 

Movement. —The action of the first and sec¬ 
ond fingers and thumb, which is called the 
Unger movement, is the first writing move¬ 
ment developed in the child; and quite natur¬ 
ally it will be used by him (before he has : 
learned the better way) in his first efforts with 
the pen in acquiring the forms of the letters. 

This movement is, however, comparatively 






POSITION AND PENHOLDING 


5 


weak and inefficient whenmsed alone, and the 
pupil should gradually be led, by proper in¬ 
struction and exercises, to combine with it the 
stronger action of the forearm, termed the fore- 
arm movement; which acting from its rest 
near the elbow, sliding the hand on the nails 
of the third and fourth fingers, carries the pen 
easily forward from stroke to stroke and letter 
to letter, helping to make as well as to join 
them; the fingers meanwhile adding their finer 
shaping power to give finish to the forms. 
This united action of the forearm and fingers 
is known as the Combined Movement, and 
is generally considered the ideal movement for 
the purposes of business. The finger portion 
of the movement will largely take care of itself, 
but the forearm part requires training. 

Counting .—The movement in writing should 
be light, brisk and regular, not halting, jerky 
or spasmodic. An old teacher aptly describes 
it 

“ Let the pen glide like gently rolling stream, 

Restless, but unwearied and serene.” 

To secure this regularity—spurring the slow, 




16 


HOW TO TEACH WRITING 


restraining the hasty, and enabling the whole 
class to execute the same line at the same 
time,—counting is used. There should be one 
count, as a general rule, for each down stroke. 
From two to three down strokes per second 
will suggest about a due degree of speed. 

Instead of counting, a metronome can be 
used, or suitable music. In the oral counting, 
in lieu of numbers, appropriate suggestive 
words can be employed. For instance for 
small m, instead of the count, one, two, three, 
the words, light, light, light, could be used 
(especially if the class were writing too heav¬ 
ily) for the successive down strokes, in timing 
the letter. 


THE COPY BOOKS 
Book On© 

Some pupils will already be familiar with 
the forms of the letters before they write 
in Book One. Of these, some may have 
learned to make the letters in the vertical 
forms. Others may be required to use the 




BOOK ONE 


1 7 

pen for the first time in this book. In either 
case all pupils should now be taught the cor¬ 
rect way to sit at the desk, hold the pen and 
place the paper. This should be thoroughly 
done before the pen is dipped in the ink. 

Before the copy is written by the pupil, he 
should be made to read it, so that he may know 
what he is doing. Then let him trace it two 
or three times with a dry pen. After which 
the ink wells may be opened and writing be¬ 
gun. 

When one line has been written, pass along 
among the desks to observe the writing. 
Make few, if any, individual criticisms. Use 
the blackboard to show such glaring defects 
as are commonly visible, and ask the pupils to 
notice how their writing varies from the copy. 
Be certain that the pupils do not in their sec¬ 
ond line copy their own writing of the first 
line. Keep the copy in their mind as the 
standard of reference. 

Call attention to the place where the first 
copy must be begun, so as to have the first turn 
touch the vertical line, and not pass beyond it. 


IS HOW TO TEACH WRITING 

When three lines have been written the 
blue copy should be traced, first with the dry 
pen and then with the inked pen. Then the 
remaining lines of the page may be written. 

If the pens have been held correctly and 
the holders kept free from ink, the pupils’ fin¬ 
gers will not be soiled. If the pupils have 
already written with the pencil they should be 
shown that the pen differs from the pencil and 
requires little or no pressure upon the paper 
to make it trace. Good ink flows readily, 
and if the pen is a good one, neither too fine 
nor too coarse, it will make a satisfactory line 
without pressure. It must merely touch the 
paper. 

The first writing should be little more than 
imitation of copy. The pupils may be led to 
notice, however, by illustration on board, that 
the i is a straight line joined to a right curve, 
and that the u is the i repeated . Say nothing 
about slant at this stage, except that it should 
be uniform; and nothing about shade except ;; 
that it should be omitted. But if bad training 
has led the pupils to forms wholly inconsistent 



BOOK ONE 


19 

with the copies, correct the fault by requiring 
the pupils to follow the copy. 

Movement exercises may be introduced at 
the beginning; but these should be of the 
simplest character, and serve to vary the copy 
book work. 

The proper movement exercise to accompany 
this first lesson of Book One is the sliding cur¬ 
rent form of the letter i. Show the pupils 
what you wish them to do by producing this 
form on the board, counting with each down 
stroke. Next have them trace the movement 
with dry pens, held lightly in proper position. 
Then have the pens inked and count while the 
pupils practice the exercise. 

Their first attempts may be very crude and 
irregular; but repeated well directed efforts 
day by day will train the hands to the proper 
movement. Movement slip No. 1 may be 
placed before each pupil for this exercise. 


No./. 


20 


HOW TO TEACH WRITING 




The writing lesson on page 2 should be read 
by the pupils, traced with a dry pen and cop¬ 
ied like the lesson on page 1. It can be shown 
on the board that the w is simply the u with its 
fifth line drawn in closer to the preceding part 
and finishing with right curve; and that the 
first two curves of the n differ in an important 
respect from those of the u, in bending to the 
left instead of to the right. The proper exer¬ 
cise for this lesson is shown in movement slip 
No. 2. 

No. 2. 



For the lesson on page 3, which should be 
carefully traced with a dry pen before it is 
written, the proper movement drill is the slid¬ 
ing exercise on the letter n. Show the pupils 
on the board the exercise on movement slip 
No. 3. 


/Vo. 3. 




BOOK ONE 


21 


• Distribute the slips, have the exercise traced 
with the dry pen, and then have it practiced 
with ink, counting one, two; one, tzvo; etc. 
Do not weary the pupils with too long move¬ 
ment drills. Make the lesson brisk and have 
the slips taken up. The pupil will readily 
notice that the m is the n with its first half 
repeated. 

The new letter on page 4 is the v. This 
letter is made by a continuous movement and 
should first be shown on the blackboard. Its 
last two lines are like the last two of the w, 
and the remainder duplicates the part of m 
and n next to their last curves. Do not pinch 
the pen, nor rest the wrist or side of the hand 
upon the table. Slide easily from letter to 
letter in the movement drill (movement slip 
No. 4), counting one, two; for each letter,— 
one for the body line and two for the slide. 

/Vo.4. 



Lesson 5 contains the letter 0. Its two 


22 


HOW TO TEACH WRITING 


sides should curve equally, and it should al¬ 
ways be closed at the top, or it may be mistaken 
for the letter v. Show the movement exer¬ 
cise on the board, making the full o as you 
count one and the slide as you count two. Dis¬ 
tribute movement slip No. 5, and have it traced 
with a dry pen. 


No . 



When the forms of the exercise are fully 
fixed in the minds of the pupils, have them re¬ 
produce it on paper. The group of o’s is to 
be executed without lifting the pen. This 
sliding drill upon the 0 makes one of the most 
attractive and useful of exercises. 

The new letter on page 6 is the c. The 
most distinctive part of the letter is the dot, 
which should be clear and plain but not too 
large, and should drop about one third the 
height of the letter from the top. The body 
of the letter being derived from the 0 and the 


BOOK ONE 


23 


connecting lines from the i, the movement drill 
may be a review of the exercises on those two 
letters, movement slips, Nos. 1 and 5. See 
that the pupils are forming no bad writing 
habits, but are maintaining a good position at 
the desk, placing the paper and holding the 
pen aright. 

On page 7 the short looped letter e is prom¬ 
inent. It has been used before incidentally, 
but has special attention in this copy. Show 
on the board that its down stroke is like the 
left of o, and its connecting curves similar to 
those in the i. The loop crossing is at one 
third the height. Use movement slip No. 6. 

No. G . 



Trace with the dry pen, as usual before prac¬ 
ticing the exercise with ink. See that the arm 
rests easily, not heavily, on large muscle near 
elbow, and that the hand rests lightly on the 
nails of the third and fourth fingers only. 


24 


HOW TO TEACH WRITING 


Slide the whole hand lightly from letter to 
letter in the exercise. Small e is an important 
letter being the most used of any letter in the 
alphabet. 

The lesson on page 8 presents the letter a 
for special attention. As in the other lessons, ; 
have the copy read and traced with a dry pen 
before ink is used in the book. Call attention 
to the form of this letter, particularly to the 
characteristic feature, the pointed oval. Show 
how this oval, though similar in appearance 
to small o, differs from it in having more slant 
and in having its left or upper side fuller 
than the right. The right of a is similar to 
the i. Use movement slip No. 7. 

No. 7 . 

Write the exercise on the board, counting 
two for each letter. Distribute the slip; have 
the exercise traced with the dry pen; then 
count one, two; one, two, etc., while the pupils 
write. 



BOOK ONE 


25 


On page 9 the letter r is taught. Have 
copy read and traced as before. The charac¬ 
teristic feature of the r is the shoulder made 
by the short line at top. See that it is made 
distinct and without loop where it joins first 
curve of letter. The r is a trifle higher (about 
one fourth higher) than the other short letters 
except the A movement exercise on this 
letter will be valuable. See movement slip 
No. 8. 

No. 3 . 



Page 10 presents the letter ^ for special at¬ 
tention. It is like the r in height, both letters 
being about a fourth higher than the other 
! short letters. Use movement slip No. 9, writ- 
! ing the combination through, as usual, without 
lifting the pen. 




2 6 


HOW TO TEACH WRITING 


Page ii teaches the last of the short letters 
—the little used letter x. For the movement 
drill it is suggested that movement slips No. j 
i and No. 3 be used. 

The first eleven pages of Book One have 
taught the thirteen short letters—i, u, w, n, 
m, v, o, c, e, a, r, s, and x—all of which are of 
the same height, except the r and s which are 
about one fourth higher than the rest. The 
semi-extended letters, t, d, p and q, will now 
be taken up. Of these, the t, d and p are two- 
thirds higher than the short letters above base 
line, and the p and q extend one space, or 
height of i, below base line. 

Page 12 introduces the first semi-extended 
letter—the small t. After the copy has been 
read and followed with a clean pen, show on 
the board (writing the word it as illustration) 
how the t is made from an undotted i by 
simply elongating the middle line of the i and 
•crossing it midway between top of short letters 
and top of t. The chief difficulty in the 
t is in its greater height. As it requires more 
movement, in an upward direction than the let- 


BOOK ONE 


2 7 


ters hitherto taught, a special exercise will be 
found useful. Give movement slip No. io. 


No. fO . 



Page 13 gives us the new letter d. This 
is like the letter a with its third line elongated 
upward like the t. Use movement slips, Nos. 
8 and 10. 

Page 14 presents the long letter p. The 
difficulty with this letter lies in its long stem. 
Show on the board, by a monogram of the 
three letters, how the last three lines of the n 
m and p are the same. The p is the same 
height as the t and d above base line and ex¬ 
tends one space, or height of i, below it. Give 
out movement slip No. 11. 


No. //. 



28 


HOW TO TEACH WRITING 


Page 15 teaches the letter q. This, in 
words, is always followed, as in copy, by the 
letter u ; and extends the same distance below j 
the base line as the stem of p. Lead the class ; 
to see the relation of the q to the a and d, by j 
writing the a on board, then extending its third 
line upward to form the d, then downward, 
adding the fold to form the q. For exercise re¬ 
view that upon the a —movement slip No. 7. 

We have seen in the semi-extended letters 
how largely they depend for their construction 
on the preceding short letters. The same will 
be found true of the letters that remain to be 
taught—the long loop letters. The mastery 
of the first and simpler forms thus contributes 
very largely to the mastery of the more com¬ 
plex ones that follow—the command of one 
letter involving often the command, to a large 
extent, of a whole group. 

Before beginning the last important class 
of small letters, see again that all the condi¬ 
tions for good writing are being attended to. 
Place the feet forward level upon the floor. 
This steadies the position while the body is 



BOOK ONE 


29 


held erect. If the feet are drawn back, the 
chest will probably be tilted forward against 
the desk—a very unhealthful posture. Do not 
bend the head over to left in writing, as is often 
done. Avoid resting the wrist or side of hand 
upon table. Do not bear down upon pen, nor 
pinch it, nor let the holder drop into the hollow 
above the thumb. Let the right arm rest easily, 
not heavily, upon the table, so that the hand 
may move easily across the paper, gliding on 
the nails of the third and fourth fingers. Let 
the muscles be relaxed, not tense, so that they 
may act more freely and without so soon 
tiring. 

Page 16 is devoted specially to the letter 
h, the first of the extended or long loop class 
of letters, a class which embraces about one 
third of the alphabet. The long loop forming 
the prominent feature of these letters is nearly 
the same in all, except being a little more modi¬ 
fied in the z. 

In the h do not make the loop crossing so 
low, nor loop so large, as to interfere with 
left curve at base. It gives the letter a very 


30 


HOW TO TEACH WRITING 


awkward appearance. Make loop crossing at 
about one half height of letter. Show on the 
board the identity of the right part of the h 
with that of the n and p. For an exer¬ 
cise, use movement slip No. 12. It is to be 
practiced as the teacher counts one, two, one, 
two, etc. 


No. / 2 . 




Page 17 introduces the difficult letter k. Its 
loop is like that of h. Do not make a loop 
where the two parts of right side join each 
other. For exercise, use again movement slip 
No. 12. 

Page 18 gives special practice on the letter 
/. The loop is like that in h and k, except 
that instead of coming squarely to base line it 
turns there to right before joining next curve. 
Loop crossing is about at mid-height of letter. 

Below loop crossing the l is about the same 
as the undotted i. See that the loops are even, 


BOOK ONE 


31 


neither too wide nor too narrow. Use move¬ 
ment slip No. 13. 


No. /3 , 



Page 19 gives us the new letter b. The 
loop part is precisely that of the /, and the last 
two lines—the distinguishing part—like the 
v and w. This should be shown upon the 
board. Do not make a loop where last two 
curves join. For exercise, review movement 
slips Nos. 4 and 13. 

Page 20 introduces the letter j. This is 
simply the long or extended loop, as in h and 
k, inverted and reversed and dotted like the 
letter i. Make loop crossing at base line. 
The i and j should always be dotted. Place 
the dot one space above letter and in line with 
body stroke. In the exercise write the group 
of j’s through without lifting pen, sliding 
lightly from loop to loop and counting one 


32 


HOW TO TEACH WRITING 


for each down stroke. Use movement slip 
No. 14. 


No. /^. 



Page 21 teaches the letter y. Its first three 
lines are similar to the last three of the m n 
and p, and the loop part identical with that of 
the /. Use again movement slip No. 14. 
Count one, two, one, two, etc. 

Page 22 gives practice on the letter g. Its 
pointed oval is similar to that of the a, d and q, 
and remainder of letter precisely like loop of 
j and y. Let this be illustrated upon board 
writing first the a and then making the addi¬ 
tions necessary to evolve the d, q and g succes¬ 
sively. Then write the j upon board and make 
the necessary additions to develop from it the 
y and g. Be sure that the g is closed at top, 
so that it cannot be mistaken for y or ij. Use 
movement slip No. 15. 




BOOK ONE 


33 


/Vo. / 5 . 


tTKK 


TTTK 


The unusual letter z is given on page 23. 
Its top is like the left of that other unfrequent 
letter, x. Let loop crossing be at base line. 
Use movement slips Nos. 3 and 14. 

Page 24 gives practice on the longest of 
small letters, the f. It is as high as the h, k, 
l and b above base line, and drops as far as the 
j, y, g and z, below base line. Its upper and 
lower loops are about equal to each other in 
length and width. Make its loop crossings at 
base line and one space, or height of i, above 
it. Movement slip No. 16. 


No./G . 


-mf-mp 


We trust that in writing this book the im¬ 
portance of correct position and penholding 



34 


HOW TO TEACH WRITING 


have not been forgotten, but have received the ) 
constant careful supervision they require, espe- : 
dally at the start. 

Until the pupil has acquired a fairly correct 
formation of the letters, it is best to give him 
as little writing to do as practicable outside 
the regular writing lessons. Otherwise, crude 
forms and bad habits are likely to become fixed 
in the handwriting beyond remedy. 

No capital letters are given in this book. 
The forms of the small letters should be well 
mastered when the book is finished, if exercises 
in movement are persevered in and well con- | 
ducted. Show each movement on the board 
and illustrate the count. Have the movements 
executed in time, and insist upon increased 
accuracy. Mere aimless, unguided movement 
is not valuable. There is value in a well di¬ 
rected movement that leads to a desirable fixed 
habit. There can be no well defined hand¬ 
writing until the hand acquires a movement 
that reproduces the forms of writing without 
thought. 

Tests as to the mastery of forms may occa- 



BOOK TWO 


35 


sionally be made by asking for certain forms 
to be written without giving out the copy for 
the same. 

Do not make the exercises tedious, and keep 
the children’s hands active while the exercise 
lasts. Have the lesson well in mind before¬ 
hand, so as to carry the work along without 
a halt. 

Book Two 

Before allowing the pupils to write the copies 
of Book Two learn by experiment whether 
they have all mastered the forms of the small 
letters and whether they have practiced any 
exercises in movement. 

Require them to write, without copy, on a 
loose piece of paper, the small alphabet, fol¬ 
lowed by a single sentence of short words, 
such as the teacher may dictate. Have the 
papers signed by each pupil, giving date, name 
or number of school and the pupil’s grade. Do 
not specify the purpose of this exercise; but 
preserve the sheets to compare with later work 
as evidence of improvement with the use of 
this book. 



36 HOW TO TEACH WRITING 

As form depends so much upon movement, 
and movement so much upon position and 
penholding, these requisites must receive re¬ 
newed careful attention, in order that the best 
way of sitting at the desk and holding and 
managing the pen may be attained. 

It is well to introduce a movement exercise 
with each lesson before the regular copy is 
written in the book. A quarter of each writ¬ 
ing period may profitably be given to this drill 
in movement. And if every week or two a 
lesson be given entirely to movement drill, so 
much the better. At such lesson leading exer¬ 
cises already practiced can be reviewed, or 
exercises given calculated to correct faults in 
writing found to be prevalent in' the class. 

In Book Two the capital letters are taught, 
as the small letters were taught in Book One, 
in the order of their similarity of formation. 
The capitals, as a class, are the same height 
as the long loop, small letters, being about 
twice the height of the short letters. They 
should not be less than this. 

As in Book One, have the pupils read the 


BOOK TWO 


37 


copies and trace them carefully with a dry 
pen before imitating them with ink. 

The true form of the letter 0 , which is 
the capital form on page i, is the perfect oval, 
with curves equal on its right and left. In 
rapid writing, the lines will often not meet 
exactly. The more nearly they meet the more 
unmistakable the letter will be. Practice the 
movement exercise for 0 (movement slip No. 
17) as a direct oval, making the left side with 
a downward motion. Carry the pen lightly 
round and round the oval form, as nearly as 
possible in the same path, from five to ten 
times without lifting it from the paper. 


No. / 7 . 



The first attempts may be poor, but by per¬ 
severing practice the form may be acquired. 
There is no other exercise for movement of 
greater value than this towards mastering the 
capitals. 


38 


HOW TO TEACH WRITING 


On page 2 the capital C is introduced. Show 
the close relation of the C to the 0 by making 
the latter upon the board and then indicating 
the slight changes required to form the C. 
The straight stroke at top of C descends one 
third height of letter. The movement for this 
letter is so like that of the O that it will answer 
to use again the same exercise—movement 
slip No. 17. 

On page 3 we have the capital A. Its left 
side is like the capital O but a little more 
slanted. Its right hand part is like stem of t, 
and is three fourths height of the letter. Use 
movement slip No. 18 writing several lines of 
it. 


'WOCDOOOO 

Page 4 gives capital Gas a new form. The 
body of the letter is like the C, requiring only 
the finishing line at the base, as in the printed 
form of the letter, to make the distinguishing 


BOOK TWO 


39 


difference. Let the finishing line drop one- 
half height of i below base line. For move¬ 
ment exercise write several lines of capital 
G’s, placing them about the width of the letter 
apart. 

On page 5 the capital E is presented. Its 
relation to the C, G and 0 should be illustrated 
on the board. The upper portion is smaller 
than the lower, and joins it at half the height 
of the letter. Do not make the loop joining 
the two parts too large. A modification of the 
capital O exercise gives an excellent movement 
drill, as shown in movement slip No. 19. 

No. /s. 

The capital D, introduced on page 6, should, 
as with the other capitals, be carefully traced 
with the dry pen until the eye has mastered 
the form before any attempt is made to write 
the copy in the book. Make the upper half of 
the first line straight, the loop about level, and 


40 


HOW TO TEACH WRITING 


the right of letter similar to that of the 0. 
Review movement slip No. 17. 

The capital N on page 7 is the first of the 
straight stem capitals. This simple straight 
stem forms a leading part of so many capitals 
that it should have careful attention here. If 
we take the first body line of the small n or 
in, double its size and join with it at top of 
turn a short horizontal straight line, we have 
as a result exactly the form of the straight 
capital stem. Take care to make the stem 
at beginning, and also near base, sufficiently 
strong, and the turn light and neither too round 
nor too sharp. For movement practice, write 
several lines of the straight stem, using 
movement slip No. 20. 


A/a. HO. 



The capital M, page 8, has its first and last 
part like the N. For exercise, use movement 
slip No. 21. 


BOOK TWO 


41 


No. 2 /. 

7mbl??7b7rmy 

The capital V, given on page 9, begins like 
N and M; but its descending line instead of 
coming directly to base as in those letters, 
curves to the left, turns at base, and finishes 
with an ascending curve, the symmetrical op¬ 
posite of the descending side of the letter. The 
right half of the V is about the same height as 
the left. For exercise, use movement slip No. 
22. 

No. 22. 


On page 10, capital U is the new form. Its 
left is like that of the V, and its right like 
that of the A but a trifle higher. Its width 
is the same as the N. Use exercise on move¬ 
ment slip No. 23. 

No. 2 3. 

imoNUNtw 


42 


HOW TO TEACH WRITING 


On page n we have the capital Y. This 
is like the U with final curve omitted and 
second descending line carried straight down 
below base line the same distance as in the G. 
Use exercise on movement slip No. 24. 


No. 2H. 



The W, page 12, is like a U made with the 
final curve of the V. Make the U upon the 
board and show how by little alterations or ad¬ 
ditions the V, Y and W can be evolved from 
it. Review exercises on movement slips, Nos. 
21 and 22. 

On page 13 is the letter P, the first of an¬ 
other series of capitals, related to the preceding 
N class of letters in beginning with a straight 
stem—modified, however, by the omission of 
the short initial horizontal stroke. Avoid sepa¬ 
rating the first and second lines of the P too 
much, or it may be mistaken for a V. Prac- 






BOOK TWO 


43 


tice the exercise indicated in movement slip 
No. 25. 


No. 25. 



Page 14 gives the capital B, whose left side, 
and upper portion of right, are similar to the 
P. The upper lobe descends one half height 
of letter. See that the small loop joining the 
two lobes is not too large. Use movement 
slip No. 26. 


No. 26. 



The capital R, on page 15, is similar to the 
B, but differs from it in lower half of right 
side (which is like that of the K), and in 
having small loop carried in closer to the stem. 
Give a movement drill on a line of capital P s, 
and follow with a line of B’s and a line of R’s, 



44 


HOW TO TEACH WRITING 


so that the hand may become familiar with the 
distinctions. 

A very simple but graceful form of the capi¬ 
tal H is given on page 16. Note that the 
right side is the same as the left inverted and 
reversed. Observe the straightness of the 
upper part of the left side and lower part of 
the right. For exercise use movement slip 
No. 27. 


No. 27 . 



The capital K, on page 17, will require 
care in the placement of the small loop, which 
should almost touch the stem. The K begins 
like the H and ends like the R —the distin¬ 
guishing part being the upper half of the right 
side. As a movement drill write two lines 
of H’s and two lines of K’s, disconnected and 
about the width of the letters apart. 

The letters / and I are both introduced on 
page 18. The first curve of these letters is sim- 




BOOK TWO 


45 


ilar to left of 0 . Make lower end of first 
curve full, or loop crossing is apt to be too 
high. In letter writing, few letters are so 
much used as the /. “ If you want to be repre¬ 
sented by a handsome form, and who does not, 
take special pains to master the capital I” Use 
exercise on movement slip No. 28. 


No. 28 . 



A simple form of the T and F is given 
on page 19. Note carefully the distinction be¬ 
tween the two letters. See that the first curve 
in T and F is not made too weak, especially at 
its left end. Exercise on movement slip No. 
29 may be used. 


No. 20 . 

The capital S, page 20, has its loop crossing 


46 


HOW TO TEACH WRITING 


at mid-height. Its left curve in the upper half 
of the letter, and right curve in the lower half 
are full, and the finishing dot rests upon first 
curve. For exercise use a continuous line of 
the letter, as in movement slip No. 30. 

No. 3 0 . 


The capital L, given on page 21, is begun 
like the C and has a small loop at base like that 
in the D. Use movement slip No. 31. 


No. 3 /. 



Page 22 gives us the capital X. It is a letter 
seldom used, but the first half of it forms a 
leading part of a group of letters, and an ex¬ 
ercise upon it will not be out of place. Use 
movement slip No. 32. 


BOOK TWO 


47 


/Vo. 3 2. 


In the capital Q, page 23, the main portion 
of the letter is similar to left of X, and its 
small loop like those in D and L. A good ex¬ 
ercise for the Q is the reversed oval, in which 
the right side is made by a descending move¬ 
ment, as indicated by arrow. Use movement 
slip No. 33. 


/Vo. 33 . 



For the capital Z, page 24, the relation in 
form of the X, Q, and Z may be shown upon 
the board, and for exercise the reversed oval 
of the preceding lesson repeated. 

Throughout this book the movement exer¬ 
cises should relate chiefly to the new letter in¬ 
troduced in the copy. Freedom of movement 
will be increased by daily exercise in some one 


48 


HOW TO TEACH WRITING 


form. These exercises should be brief, not to 
exceed five minutes, and each pupil should be 
incited to attain the desired forms accurately. 

For elementary work in capital letters, the 
direct oval and reversed oval movement drills 
will be found most useful. 

Book Three 

In the previous books the forms of all the 
letters have been taught. In this book fuller 
practice is given on all the letters and figures, 
in a smaller hand, longer sentences, and more 
difficult combinations. 

Before the No. 3 copy books are used, it is 
well to give out slips of blank paper, as was 
done with copy book No. 2, and have each 
pupil write at dictation a few lines involving 
the use of some of the capital letters, together 
with small letters and figures; in order to de¬ 
termine what progress in writing has been 
made before beginning this book. Each paper 
should be signed by the writer and dated. 
These should then be preserved until this third 




BOOK THREE 


49 


book is finished, to ascertain the improvement 
made by writing this book. Each member of 
the class should be able to show definite prog¬ 
ress towards the attainment of a rapid, legible 
hand. 

In this book, as in the previous ones, the 
copies should be read and traced with a dry 
pen. Movement exercises should be used in 
connection with each copy. Most of these have 
been already suggested in connection with 
Books One and Two. 

For example, the exercise best fitted for the 
first page of Book Three is the direct oval of 
movement slip No. 17. This exercise is one 
of the most useful known to free the hand and 
make the movement produce writing rather 
than drawing. 

For page 2, review the exercise on move¬ 
ment slip No. 2. 

For page 3, use movement slip No. 6, or 
practice exercise No. 21 on third page of copy 
book cover. 

For page 4, use either or both exercises 22 
and 23 on the third page of copy book cover. 


50 


HOW TO TEACH WRITING 


For page 5, give out movement slip No. 
19. 

For page 6, the best exercise is the full re¬ 
versed oval, movement slip No. 33. 

For page 7, use movement slip No. 21, or 
the extension exercise No. 34. 

For page 8, use movement slip No. 21. 

For page 9, it is well to review movement 
slip No. 13. 

For page 10, use movement slip No. 10. 

For page 11, use again the extension exer¬ 
cise on movement slip No. 34. 

For page 12, review the exercise given on 
movement slip No. 16. 

For page 13, use movement slip No. 25. 

For page 14, use movement slip No. 26. 

For page 15, a good exercise is the reversed 
oval, movement slip No. 33. 

For page 16, movement slip No. 27 may be 
used. 

For page 17, review the extension exercise, 
slip No. 34. 

For page 18, review exercise on slip No. 14. 

For pages 19 and 20, use the exercise on slip 
No. 29. 




BOOK THREE 


51 


For page 21, use slip No. 31. 

For page 22, practice again from slip No. 
3i- 

For page 23, let the reversed oval, slip No. 
33, be the exercise. 

For page 24, review movement slip No. 1. 

All movement exercises should be made as 
the teacher counts, and the pens should be in 
continuous movement through each connected 
group of forms. 

All the letters having been taught and 
mostly reviewed, the figures may receive at¬ 
tention in Book Three, beginning with page 
16, or, if desired, the teaching of them can 
be deferred till later. The forms of the 
figures should be carefully looked to. The 
precept that every letter should be so well 
formed as to be unmistakable even when 
standing alone, is doubly applicable to the 
figures. In the case of a doubtful letter, the 
context may show what it really is; but each 
figure must speak for itself, and a fortune may 
be lost to its rightful owner by the failure of 
a single figure to be clear and correct. 




52 


HOW TO TEACH WRITING 


The figures are of one height, except the six, 
which extends a half height of i above, while 
the seven and nine drop the same distance 
below, the other figures. 

The figure one is a simple straight line on 
the regular slant. Avoid beginning it in the 
old-fashioned way with a short curve on left, 
which is likely to make it look like a seven or 
a nine. 

The tzvo is like a small capital Q. See that 
its base is not so slight and its body curve so 
turned that it resembles the seven. 

The three is like the capital E reversed or 
the right of the B. Note how its top and base 
are each parts of two small ovals interlinked at 
loop. 

In the four, make the two sides of equal 
height, and horizontal curve at one third 
height of figure. 

The five has a base like the figure three. 
Take pains to join the short horizontal curve 
to first part in the five , or it may be read as 
a three , and the horizontal stroke joined to a 
one following, may transform it into a seven. 



BOOK THREE 


53 


The six extends a half space above the other 
figures and the oval on its right is half height 
of figure. 

The figure seven descends a half space be¬ 
low base line. Its first stroke is like those in 
the two and three, and drops one third way to 
base line. If first stroke be made too long and 
horizontal curve too low, the figure may be 
confused with the four. 

The eight is like a small capital 5 inverted. 
Loop it at mid-height. 

The nine begins with a pointed oval like 
those of the a, d, g and q, and its stem drops 
the same distance as the seven below base line. 
Be sure and close the oval at top, and avoid 
the possibility of its being taken for a seven. 

The cipher is like the body of the small o. 
It should be closed at top and its right side not 
shorter than left, or it may be mistaken for a 
six. 

For exercise upon the figures, lines of each 
can be written on the practice paper in connec¬ 
tion with the lesson in which it is taken up. 


54 


HOW TO TEACH WRITING 


Book Four 

This book affords progressive practice 
towards the mastery of letters in combina¬ 
tion. 

As with the other books it will be wise to 
have test slips of the pupils’ penmanship taken 
before and after the book is written, to show 
what progress is made. 

Reading the copy, and tracing it with dry 
pen before writing should not be neglected. 
It would also be well before each lesson in the 
book to give a brief, wide-awake movement ex¬ 
ercise to train the hands of the pupils and 
secure freedom of movement. 

After using the preceding books, it is pre¬ 
sumed the teacher will experience little diffi¬ 
culty in choosing an exercise suitable for each 
copy. For capitals, such exercises are to be 
used as the direct oval, movement slip No. 17, 
and the reversed oval, slip No. 33, also Nos. 
18 to 32. 

For the small letters, use Nos. 1 to 16, and 
occasionally No. 34. 



BOOK FOUR 


55 


/Vo. 



With this book may be introduced also the 
progressive oval or capital loop of movement 
slip No. 35. At first a short combination of 
only four or five loops to the group will be suf¬ 
ficient. 



See that the figures are neatly made, and 
give dictation exercises for practice in them, 
to be written rapidly and in columns. At first 
the numbers written to be added should not 
exceed three figures. Figures should be so 
made as to be unmistakable. Distinguish each 
by its characteristic form, avoiding the errors 
pointed out in the instructions under Book 
Three. 


1. of e. 


56 


HOW TO TEACH WRITING 


Book Five 

Before and after writing Book Five, have 
the test slips made. 

Let each copy be followed carefully with the 
dry pen. The copy should be read and the 
spelling of any unusual word should be noted. 
Note whether the pupils’ i’s and j’s are always 
dotted, and whether they use the proper 
punctuation marks. 

For movement exercises use the two ovals,, 
movement slips Nos. 17 and 33, and the ex¬ 
tension movement No. 34. These exercises on 
capitals should, of course, be interspersed with 
a due proportion of those upon the small letters 
found in movement slips, Nos. 1 to 16. 

For increased facility of combination, so es¬ 
sential for rapid writing, the sliding exercises 
will be found useful. To improve the form of 
a particular letter, practice upon that letter 
alone is excellent. Write line after line of the 
letter, disconnected and well spaced, as shown 
in slip No. 24. Make the letters “ with prompt 
movements, watched by a critical eye quick to 
detect faults.” 



BOOK SIX 


57 


As all men have to deal more or less with 
figures, do not neglect an occasional drill in 
figures, which should be dictated with increas¬ 
ing rapidity, and the exercise varied by writ¬ 
ing them in columns for addition. Have the 
pupils exchange papers and add. This will 
test the legibility of the figures. Use some 
exercises in dollars and cents and add in the 
same way. Such exercises shortid not be long 
continued, and the pupils should be required 
to make figures that cannot be mistaken. 

Book Six 

This book has copies in two lines. The 
variety of combinations of letters is increased. 
There is much exercise on the capital letters 
and on figures. 

The test slips for purposes of comparison to 
show the improvement made, should be taken 
as usual before beginning and after completing 
the book. 

Before each writing lesson in the book, give 
a brief exercise in movement, either by copy on 
the blackboard or by the use of a movement 


58 


HOW TO TEACH WRITING 


slip. Commend the pupils who show im¬ 
provement and all those who faithfully try. : 
The copies will serve best to teach the correct 
form of the letters; but movement exercises 
will serve to increase speed, and if these are 
united with the regular copy book work, the 
best results will be gained. 

Practice upon the figures, with critical atten¬ 
tion to giving each its distinctive form, should 
be continued, as recommended in connection 
with Book Five. 

Books Seven and Eight 

Book Seven illustrates and gives practice on 
the various sizes of script used in ordinary 
writing and bookkeeping. It consists mostly 
of three line copies, while those of Book Eight 
are still longer. These two books embrace 
forms of simple business papers, entries in 
books of account, and letter writing. 

In giving the movement exercises, note what 
letters, classes of letters, or combinations, the 
pupils most fail in, and select exercises bearing 



BOOK SEVEN AND EIGHT 


59 

directly upon such defects and calculated to 
overcome them. 

Encourage the pupils to place a due estimate 
upon the value of a good handwriting, to criti¬ 
cise their own • writing, noting not only the 
faults of particular letters, but whether there is 
a general effect of order and neatness, due to 
uniformity of height, slant, and spacing, and 
to proper arrangement. 

Do not encourage any needless curves or 
flourishes in the writing. The recognized well 
known forms of the letters, which when well 
made are beautiful in their simplicity, should 
be closely adhered to. 

Each pupil should be taught to acquire a 
legible, simple signature, using the full Chris¬ 
tian name. This should become fixed at an 
early period of school life. A good signature 
often serves as a recommendation for the 
writer. 



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Abridged directly from the International Dictionary, and 
giving the orthography, pronunciations, definitions, and syno¬ 
nyms of the large vocabulary of words in common use, with 
over 800 illustrations. 


AMERICAN BOOK COMPANY 

NEW YORK CINCINNATI CHICAGO 






BROOKS’S READERS 

FIVE BOOK OR EIGHT BOOK SERIES 
By STRATTON D. BROOKS, 

Superintendent of Schools, Boston, Mass. 


T HIS new series will be welcomed by teachers 
who are looking for fresh and attractive 
readers prepared on a modern and practical plan. 
The books embody literature which will interest 
young readers, grouped with a somewhat regular 
recurrence of kindred subjects and a steady and 
natural advance in thought and expression. 

The grading is so natural and easy that the pupils 
pass without difficulty from one book to the next, 
and the teacher is not called upon to fill gaps in 
continuity of gradation. 

The selections include pleasing tales of fancy, 
ethical stories, patriotic stories of our great men, 
glimpses of life in other lands, appropriate nature 
readings, choice selections of poetry for memorizing, 
and in the higher volumes many specimens of classic 
literature, not above the comprehension of young 
children. 

The illustrations are unusually numerous and 
attractive, and the majority have been made espe¬ 
cially for the series. 


AMERICAN BOOK COMPANY 

NEW YORK CINCINNATI CHICAGO 




SEP 18 >9° S 

BARNES’S NEW HISTORIES OF 
THE UNITED STATES 


Barnes's Elementary History of the United States, $0.60 
Barnes's School History of the United States, $1.00 


T HESE standard and popular histories have 
been thoroughly modernized, both as to ap¬ 
pearance and contents. They offer present- 
day views of history and methods of teaching. The 
larger book has been revised in every particular, and 
the smaller one entirely rewritten by that charming 
and well-known writer for children, Dr. James 
Baldwin. 

The Elementary History tells the story of the 
country in a series of biographies of important men 
as recommended by the Committee of Fifteen. The 
incidents narrated show the manners of the time, 
and the stories are all intensely interesting. The 
numerous illustrations form an important aid to the 
understanding of the text. 

In the School History, while the fascinating 
literary style and the remarkably successful distinct¬ 
ive features of the original volume have been 
retained, greater prominence has been given to in¬ 
dustrial and social development. References for 
collateral reading have been inserted at frequent in¬ 
tervals, and many new maps and pictures introduced. 


AMERICAN BOOK COMPANY 


NEW YORK 


CINCINNATI 


CHICAGO 



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